With few exceptions, autoharps have been made of wood. Solid and laminated hardwood frames have been enclosed by hardwood, softwood, and plywood with the builder’s and player’s personal preferences guiding the combination. Decades of research and experimentation with natural materials have led to construction techniques for building good sounding and structurally stable instruments but swings in temperature and humidity persist in causing cracks, bulges, separations, tuning instability and even implosions. Temperature control, humidifiers in the winter, dehumidifiers in the summer, and fine tuners all help us avoid adverse environmental effects but, as careful as we are, there can be some disappointing surprises. Could there be a material that’s very stable and sounds good? Carbon fiber may be the answer.
Carbon fiber, a very strong and rigid composite material, has been used successfully to build musical instruments for many years. The first luthier to utilize this material in sheet form for autoharp construction was Pete Daigle of Daigle Autoharps in Seattle, Washington.
Carbon fibers are woven together, bound in a polymer (epoxy), and laid in sheets that may be used for autoharp soundboards and backs. It’s thin, lightweight, and so rigid that it requires no internal bracing. As an autoharp component, it’s improbable that it will ever crack, warp, or be in any perceivable way vulnerable to environmental changes.
My recent interest in trying carbon fiber has taken the form of this new thirty-seven string chromatic. With my one piece laminated frame and back and a carbon fiber soundboard, I’m hoping that this buggy will never crash and the only maintenance necessary will be the occasional tune-up and maybe a couple of future brake jobs.
I ordered a 12″x24″x1/8″ blank sheet of carbon fiber from the DragonPlate company in Elbridge, NY. The purchase cost and machining labor was about five times greater than that of making a comparable wooden top.Â
The sheet has a matte finished back for gluing and a glossy top surface that magnifies the shiny woven texture of the fibers. It has a rather facinating 3D visual effect as the weave seems to move around beneath the surface.Â
The 1/4″ side veneer, tailpiece, and chord bar holders are made of red oak with an interesting “bark intrusion”. The eighteen maple chord bars are lacquered black and the buttons have been randomly burnt with a mini torch to resemble the oak trim.
The standard chromatic tuning schedule includes a thirty-seventh string tuned to D6. The eighteen thin chord bars are carried by steel pins driven into Delrin bases. The three row setup favors the keys of C, G, and D and includes the Cdim7th, C#dim7th, and Ddim7th chords.
To access the chord bars for adjustment or change I made magnetic holder covers that can be easily popped open without removing screws. The caps are aligned with tiny pins at each end and held fast in the center by small rare earth magnets. Self adhesive felt strips on the underside of the caps quietly adjust the chord bars’ height for a low playing action.
So, how does this carbon fiber sound? For us, it is too soon to say anything other than “different”. Folks who play the Daigle carbon fiber harps report that they are loud, bright, and have a “crazy amount of sustain”. It does seem louder than our other instruments but we need a “breaking in” period before we can assess its tone, articulation, and presence. Almost as important is the expectation of greater structural stability and the attractive visual combination of carbon fiber and red oak.
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